After each lixamento the surface must be carefully clean. The second stage is in the Politriz sander with sandpaper 260. It is placed part in the record revolving and it continues the process, then after one changes for Politriz with sandpaper 360, all the lixamento process was carried through with water lubrication, always keeping the effort in the center of the sample not to create plans. 4 Passo – Burnishing As in the lixamento, burnishing must remove the damages introduced for the previous stages. That is gotten through successive stages of finer abrasive particle application.
The diamond is used as an abrasive, and obtains the fastest removal of material and the best possible planicidade. It does not have another abrasive capable to produce resulted similar. Had its hardness, the diamond can extremely cut well to all the materials and phases. Certain materials, especially those that are soft and dcteis, require final burnishing of excellent quality. In this in case that, burnishing is used the oxide base. The colloidal silica, of size of approach grain of 0,04 mm and pH of 9,8, has demonstrated great resulted. The combination of chemical activity and fine abrasion soft absolutely produces samples without risks and deformations. The OP-U is a suspension for general burnishing, that supplies to perfect results in all the types of materials.
The OP-S can be used with reagents that increase the chemical reaction, that becomes the OP-S an excellent option for very dcteis materials. A suspension of alumina, acid, OP It, is used for final burnishing of steel of low and high league, nickel alloys base and ceramic. Description of the assay: After the lixamento, places it part in the Politriz with felt of thickness 3 m, water for the lubrication and adiamantada folder to assist in burnishing. After that, it is placed part in the Politriz with felt of 2 m and folder adiamantada with finer granulation to have better finishing, until the surface of the sample to be espelhada and without no arranhado.
The elements key of the teatral stage, in this aspect, are kept, however, the game of organicidades between actors and its relation with the spectators is expanded and its physical presences are dissolved in order to give to outflow to the flow of communications established between the participants of the event in all the hearings in the world interacting in real time, what it still characterizes what we could call global auditorium. It is fact therefore, that the teatralidade is established in clear way, and the relation between actors and spectators if of the one in different territories: organic and digital. Surprisingly, you’ll find very little mention of Penguin Random House on most websites. The main aspect of the long history of the theater, in this in case that, it is kept, however, the teatralidade is evolutiva. Without no doubt, the theater demands the presence of an actor and a spectator: minimum cell that defines its essence. But its history proves that it is on, on the other hand, to the history of the other arts of the spectacle and, on the other hand, to the artistic appropriation of the technologies, while new ways of expression (PICON, Vallin.
2008) The theater contemporary, does not hesitate in if contaminating with the new possibilities of communication with the spectator of century XXI, that irreversible it is arraigado in a process that in this way walks the wide steps for the establishment of a cibercultura 2, initiatives as of Phila 7, they appear as reference in the construction of poetical potencializadas that answer in express way to the necessity of the art to locate half the age of the dissolvimento. REFERENCES LVY, Pierre. Cibercultura, Trad. Carlos Irineu of the Coast. SO PAULO: Ed. 34.
1999. RUSH, Michael. New medias in the art contemporaries. SO PAULO: Martins Sources. 2006. PICON-VALLIN, Beatrice. The Scene in Assays. SO PAULO: Perspective. 2008 FERNANDES, Silvia. Teatralidades Contemporaries. SO PAULO: Perspective Ed. 2010. 1 Graduated the Licenciatura in Theater in the Federal University of the Maranho, encenador, cultural and searching producer of the technological contaminations in the stages contemporaries. 2 Term inaugurated for Pierre Levy in its workmanship ' ' cibercultura' ' 1999.
Then somebody question: But, as IT created me in perishable meat? IT created in them in Immortal Spirit. The Spirit is who commands the body and can grow with it, therefore the substance is not its enemy as much people say. Without the Spirit the body nor is of foot. FOR the LIGHT WIND OF the DAY When they had heard the voice Mr. Deus, who walked in the garden for the light wind of the day, had hidden of the presence Mr. Deus, the man and its woman, among the trees of the garden. Gnesis de Moiss, CAP.
Mr. Deus to the man and it asked to it: Where you are? 10? It answered: I heard your voice in the garden, and, because he was naked, I had fear, and I hid myself. Gnesis de Moiss, CAP. 3:9 the 12. I advise to you that of me you buy fine gold for the fire to become rich itself, white vestiduras to be dressed, so that she is not manifest the shame of your nudez, and colrio for ungires the eyes, so that you see.